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Johann Sebastian Bach As Lutheran Theologian

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Johann Sebastian Bach As Lutheran Theologian Volume 68:3/4 July/October 2004 Table of Contents The Trinity in the Bible ............................................................195 Robert W. Jenson Should a Layman Discharge the Duties of the Holy Ministry? ...................................................................................... 207 William C. Weinrich Center and Periphery in Lutheran Ecclesiology................... 231 Charles J. Evanson Martin Chemih's Use of the Church Fathers in His Locus on Justification................................................................................. 271 Carl C. Beckwith Syncretism in the Theology of Georg Calixt, Abraham Calov and Johannes Musaus ................................................................ 291 Benjamin T. G. Mayes Johann Sebastian Bach as Lutheran Theologian .................. 319 David P. Scaer Theological Observer ................................................................ 341 Toward a More Accessible CTQ Delay of Infant Baptism in the Roman Catholic Church Book Reviews .......................................................................... 347 Baptism in the Reformed Tradition: an Historical and Practical Theology. By John W. Riggs ..................................................... David P. Scaer The Theology of the Cross for the Zlst Century: Signposts for a Multicultural Witness. Edited by Albert L. Garcia and A.R. Victor Raj....................................................................... ohT. Pless The Arts and Cultural Heritage of Martin Luther. Edited by Nils Holger Peterson et al. .................................................. J ohT. Pless Fundamental Biblical Hebrm and Fundamental Biblical Aramaic. By Andrew H. Bartelt and Andrew E. Steinmann ....... Chad L. Bird Intermediate Hebrm Grammer. By Andrew Steinmann .. Chad L. Bird Counted Righteous in Christ. By John Piper ..................... Peter C. Cage The Contemporary Quest for Jesus. By N. T. Wright. Charles R. Schulz The Free Church and the Early Church: Bridgng the Historical and Theological Divide. Edited by D. H. Williams .......... Paul G. Alms Pastoral Theology in the Classical Tradition. By Andrew Puwes ...................................................................................... James Busher Music for the Church: The Lqe and Work of Walter E. Buszin. By Kirby L. Koriath .................................................... D. Richard Stuckwisch Under the Influence: HmChristianity Transformed Civilization. By Alvin J. Schmidt.................................................... James Busher Participating in God: Creation and Trinity. By Samuel Powell ............................................................................ Timothy Maschke Doing Right and Being Good: Catholic and Protestant Readings in Christian Ethics. Edited by David Oki Ahearn and Peter Gathje ........................................................................................ J ohT. Pless The Human Condition: Christian Perspectives through Afican Eyes. By Joe M. Kapolyo ..................................................... Saneta Maiko Christ's Churches Purely Reformed: A Social History of Calvinism. By Philip Benedict......................................... Cameron MacKenzie The NmFaithful: Why Young Christians Are Embracing Christian Orthodoxy. By Colleen Carroll ....................... Armand J. Boehme Indices for Volume 68 ............................................................................ 381 Johann Sebastian Bach as Lutheran Theologian David P. Scaer Bach at the Apex Johann Sebastian Bach (1685-1750) represents the high point of a period noted for its musical productivity. Even had the seventeenth and eighteenth centuries not seen the outpouring of scientific advancements that it did, the music of that period would it aside as a special one. Take Bach out of the musical equation and that period would still have been extraor* in terms of musical productivity. Heinrich Schiitz, Georg Philipp Telemann and Dietrich Bwtehude were in Germany, and Henry PurcelI and William Boyce were in England. Standard fare for suburban mall Christmas music is Bach's contemporary Lnndsmann, Georg Friedrich Hiindel's familiar "Hallelujah Chorus" from Messialt. Bach's sons left an amazing Iegacy, but they could not emerge from their father's shadow. They were great, but their father was the greatest. With the Reformation attention to hymn singing, towns and princes soon supported their own organists, music directors known as Kantors, and choirs for their churches, courts, and special occasions like marriages and funerals. From the mid-1500s up through much of the 1700s rivulets flowed from small towns and courts into brooks, and brooks merged into streams and rivers, and the rivers flowed into an ocean, which ocean was a Bach, the German word for "brook." Johann Sebastian Bach, however, was an ocean in whose music we are drowned in God's own majesty. In the Ktjrie and the Snnctris of his Mass in B Minor, we are dropped The Rev. Dr. David P. Scaer is Professor of Sysfemafic Theology and New Tesfarnent, and Edifor of Concordia Theological Quarterly at Concordia Theological Seminary. into the depths of God, dragged down by the waves into an ocean without shores. Music is better described by its characteristics and its effects, rather than defined. Martin Luther said music was the handmaiden (Frau: wife) of theology, but it is not her only role. At times she can be tyrannical and take control of our whole being. Music can convert ordinary words into a force that captures our intellects and involves us in causes for which we otherwise have no moral commitment. It enters our being through the emotions and, like an invading army, it transforms our intellect and will. Many conversions made at evangelistic rallies result from music's effect on the emotions through which the will is stirred to make decisions for Christ. Remove the music and commitment soon evaporates. Music's ability to stir the emotions is not lost on high school and college administrations. Marching bands produce that elusive school spirit, which evolves into memories that later give birth to the school's loyal and generous alumni. It reinforces memories and in some cases makes memory possible. We remember a catchy song or hymn, but we would be hard pressed to produce the words without the music. Music gives content to nostalgia, engages our minds and intellects, and through its rhythms can take our bodies captive and has the potential to create exhaustion in both the performer and the hearer. Using biblical language, music makes it possible to love things with aU our heart, soul, and mind. Over indulgence in music can only be cured by abstinence, but this only sharpens our desire for the pleasure of hearing it again. Music does not inform the intellect, but it can raise the intellect to heights of awareness and consciousness that raw thoughts by themselves cannot do. Music is the theology's alter ego, or to go one step further, its better half. Cold theological statements become alive through music. This is certaidy the case with Johann Sebastian Bach whose music preserved the older Lutheran Johann Sebastian Bach as Lutheran Theologian 321 theology, which was being surpassed by Rationalism and Pietism in eighteenthcentury Germany. Bach's music is the embodiment of the man and his faith. Through it we confront him in his inner sod. All disciplines involve our intellects, wills and emotions in one way or another. Sciences like physics and chemistry address the intellect. Religion or faith involves our intellect and our emotions, but it approaches us through our wills where unbelief is conquered and faith created. Music cannot create faith, but in addressing our emotions, it shapes our religious sensitivities and raises faith to levels beyond the reach of the spoken or the silently read word. Words, sentences, and phrases are released from the mundane and the prosaic to levels of excitement, enjoyment and even dread. Mysteriously the same words attached to different kinds of music produce different effects and more mysteriously the same music played in different ways and tempos creates different outcomes. By itself music is not a source for pure intellectual ideas, but it transforms our intellects and often provides the same words with different and perhaps even diametrically opposing meanings.1 The Mass: A Common Language for Different Faiths The idea that the same words can have different meanings is recognizable when Bach's Mass is compared to those of others. A Mass consists of liturgical parts of the service of Holy Communion, which remain the same Sunday after Sunday in all churches with little or no variation. With occasional exceptions, a full Mass consists of a Kyrie, a Gloria in Excelsis, a Credo, a Benedictus with a 'Klaus Eidam writes (The True Life ofJ. 5. Bnrh, trans. Hyat Rogers [New York: Basic Books, 2001.1, 161): "Without a doubt, music is a mysterious thing: We cannot eat it, cannot wear it, cannot prove anything by it-considered purely as phenomenon, it is strictly useless .... The preoccupation with it has even given first to a whole branch of learning, musicology, though no music is produced through its efforts." Hosrmna, and an Agnus Dei. George Bernhard Shaw supposedly said that the Americans and British were two different peoples separated by a common language. Paraphrasing Shaw, the Mass is one set of words expressing different faiths. Identical texts set to different music by different composers create different interpretations and correspondingly
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